September 1, 2025
I dragged out the paints, charcoals, pencils and other paint gear and staged them on a table in the garage. The inventory, stashed in cardboard boxes, included acrylics and oils, dozens of worn and new brushes, brush cleaner, a half-dozen blank canvases. I set up the easel.
It had been a while since I touched the stuff through a summer of distractions. It had been too hot to paint, anyway. We walked through galleries downtown and looked at the work of local artists: landscapes, portraits, abstracts, baskets of fruit and flowers, in oils, acrylics, pencil, watercolors, tempera.
A year ago some of my stuff hung in a “Veterans’ Art” show at the local gallery, the criterion being that it was painted by veterans, not that it had actual artistic value. My contributions, I think, show something of the world as I see it. No sermons or homilies.
The point is creation, of something real that somehow reaches the heart, someone’s heart. We search for it in the work of the masters, the great portraitists, the Impressionists. Then too, the Americans, Winslow Homer, Georgia O’Keeffe, Edward Hopper, the Wyeths (all of them), Thomas Hart Benton, Norman Rockwell, Frederick Remington, and so on.
They painted the world they saw. Ideas came to me, around the anniversary weekend.
We were downtown for our anniversary dinner. A fellow with a guitar, sitting on a low stone wall at Falls Park, crooned old favorites. Some passersby paused and tossed a dollar or a couple of dollars in his guitar case, which lay open on the pavement just for that purpose.
We went to the place we’ve been to the last three or four anniversaries. Afterward we walked along Main Street. Falls Park, a pleasant downtown Greenville, S.C., attraction, invites strollers and those who feel like relaxing on benches under the oaks and maples or, like the singer, on the stone wall. They listen to the music or watch people, or both.
The guitar player used an electronic sound device that played multi-instrument backup music, giving his strumming the resonance of a nightclub act. People tapped their feet. We got up and danced a bit. “Give it up for the young couple,” the singer purred. People around us clapped and smiled.
We didn’t have to be anywhere, so we sat and listened. It was Friday, a big restaurant night. Couples and foursomes and gangs of guys and gals passed. Some women wore long dresses, others blue jeans. Men wore Bermuda shorts and Clemson shirts. A few were in suits without ties. The odd loner paused for a few minutes then moved on.
From our perch we could see the rich green lawn below the park, where the local summer Shakespeare group performs. Just beyond was the slow-flowing Reedy River, lined by paths through the park. Strollers paused at benches to look at the river, which plods over rocks toward the falls. I thought of the scene in paint.
I thought of Rockwell, who rendered Americans enjoying being Americans. He painted presidents, he painted for the Boy Scouts, he painted Colonel Sanders. Some critics labeled him an “illustrator” because he painted homespun themes. But his skill was precise.
The evening was on the cool side, a sweet time in a sweet place near summer’s end, a setting for Rockwell. People sensed it as a moment to treasure, at this dark time in America.
A week earlier we had driven through Maryland’s rural countryside. We headed south and slipped past D.C., back to this tidy city, where the local art museum possesses a set of Andrew Wyeth watercolors.
Art by the great ones or amateurs may give what we all seek, a dream of remoteness from the dreck of headlines. I imagined, on canvas, the morning crowds flowing to the farmer’s market for the fresh air, the fresh coffee, the fruit and vegetable stands, the pottery, glassware, art booths.

My last paint idea was Table Rock mountain from a photo taken on a hike. The next task was finishing the “by numbers” outline of a photo of Sandy as a college student. It took months through a chilly winter in the garage. The programmed colors didn’t mesh, I freelanced the hair, face, background.
I thumbed through photos of the New Hampshire trip, memories of other people’s art from an Asheville gallery. I looked where there’s life and color.
The immortal work of Remington stirs the soul, even without visiting cowboy country. He created dynamic, graceful movement, men and horses, cowboys, Indians, stagecoaches rushing down hillsides, art to make the heart beat faster.
A portrait of Sandy of years ago sits on a nightstand, based on the college photo. She doesn’t care for it, which is why it’s out of sight. Also out of sight is my portrait of her as a high-school student, which she likes even less. I’m happy with it, but it hangs in the garage.
I recalled the field of summer zinnias at the apple orchard I struggled with a year ago that now hangs in a neighbor’s kitchen. It was hard to get right, full of summer color, the colors of our part of the country, mountains, fertile farmland, the forest converging. She wanted it, it was hers.
I recalled, thinking in paint, of our sweet Falls Park evening, full of life, gentle music, the happy dinner crowd. It was summer’s end, the air clear and pure, that signaled a brief escape from the everyday onslaught of public corruption. You may find it in city centers or remote places. The moment hinted at hope, peace, joy—a moment to experience, to remember.




